Please join us this week for three very exciting events:
The SNCC Digital Gateway Project presents “Music & the Movement,” Tuesday, September 19, 7:30-9:30 pm
Please join us for an exciting discussion with five veteran activists on Tuesday, September 19th at 7:30 p.m. at NCCU’s Alfonso Elder Student Union. Music & The Movement – During the Civil Rights Movement, mass meetings overflowed with people singing and clapping to freedom songs, demanding justice in the face of oppression and showing courage in the face of danger. Join us for a roundtable discussion with five veteran activists as they speak about the power of the music of the Movement. As song leaders, Bettie Mae Fikes, Charles Neblett, and Hollis Watkins carried the music in their own communities in the South or across the nation as part of the SNCC Freedom Singers. Meanwhile, Candie Carawan and Worth Long worked to document the music of the Movement, recording and preserving the songs that moved people to action. They experienced firsthand how music was a tool for liberation, not only bringing people together but holding them together. The conversation will be moderated by SNCC veteran Charles Cobb. Many thanks to our co-sponsors: SNCC Legacy Project, Duke University Libraries, The Center for Documentary Studies, North Carolina Central University, and SNCC Digital Gateway Project.
Event Speakers: Bettie Mae Fikes, Charles Neblett, Hollis Watkins, Candie Carawan, and Worth Long
Event Location: NCCU’s Alfonso Elder Student Union
Event Contact: CDS Front Desk
Event Contact Phone: 660-3663
Exhibit Tour and Reception: ‘I Sing the Body Electric’: Walt Whitman and the Body, Thursday, September 21, 11:45-1:30pm
Post contributed by Kelly Wooten, Laura Micham, and Laurin Penland.
We were saddened to learn of Kate Millett’s passing on September 6, 2017. As many people have been writing and speaking about her legacy, we realized we are not alone in trying to grapple with the significance of her contributions to the feminist movement, to the creation of feminist theory, to the art world, to writing, to LGBTQ activism, to advocacy for mental health reform, and to many, many other realms. Here at the Rubenstein Library, her papers have been at the heart of the Bingham Center’s collections since 2000, and have inspired much scholarship, enhancing our understanding of the world.
The Kate Millett papers in the Sallie Bingham Center provide rich documentation of Millett’s activities as a feminist activist, artist, and author. These materials reflect the intensely personal nature of much of Millett’s work and the frequent fusion of her personal, political, and professional interests. Materials in the collection also cover feminism and the social conditions for women around the globe, especially in France, Italy, and the Middle East—most notably Iran, where Millett traveled in the seventies.
Many researchers have been moved by their encounters with the writings and artwork of Kate Millett in her papers. Dr. Michelle Moravec, Associate Professor of American History and Women & Gender Studies at Rosemont College, writes:
“Working in a person’s archived papers is always an intensely intimate experience, but in Millett’s case the resonances are amplified by the emotional reactions she left scrawled across her papers. ‘Ridiculous!’ she pronounced in a scrawling red hand, across a tedious letter regarding a speaking engagement. ‘That awful Barnard thing goes on’ she sniffed in response to a request to publish her presentation from the Scholar and the Feminist Conference IX: Towards a Politics of Sexuality. Interspersed are flashes of Millett’s intellectual process, dashed off notes for one of her many lectures proclaims ‘We now have to dare everything… Writing our lives… Break every taboo.’ Long handwritten letters attest to her poignant longing to create an artistic community at The Farm, an art colony she created, the economic struggles all too familiar to female artists and writers who did not become academics, and her engagement with deeply difficult material including sexual abuse and torture.”
Born in 1934 in St. Paul, Minnesota, Kate Millett was an internationally acclaimed artist, writer, and activist. A founding member of the Noho Gallery in New York City, Millet created the Women’s Art Colony Farm in Poughkeepsie, NY in 1978, and had shown her work internationally since 1963. She was known for her sculpture and installation works in addition to pen and ink drawings both abstract and figurative. Millet’s Columbia University Ph.D. dissertation, Sexual Politics (1970), placed her at the forefront of the women’s movement. Her other political works include The Prostitution Papers (1973), The Basement (1979), Going to Iran (1979) and The Politics of Cruelty: An Essay on the Literature of Political Imprisonment (1994). Millett also wrote a series of memoirs that combine deeply felt personal revelation with trenchant political analysis. These include Flying (1974) about her early years, Sita (1977) and Elegy for Sita (1979) the story of a tragic romantic relationship, The Loony Bin Trip (1990) Millett’s exposé of the mental health system, A.D., A Memoir (1995) in which she reflects on her early life, and Mother Millett (2002) a meditation on her upbringing in middle America and her experience as an activist and then outcast from the movements she helped to form and lead.
In these books Millett gave her readers the analytical tools and inspiration for making a revolution. Her words, such as these from Sexual Politics, will continue to resonate, “For to actually change the quality of life is to transform personality, and this cannot be done without freeing humanity from the tyranny of sexual-social category and conformity to sexual stereotype—as well as abolishing racial caste and economic class.”
Many moving tributes have been published in newspapers, on websites, and on social media such as this one by Gloria Steinem on Facebook: “As Andrea Dworkin said, ‘The world was asleep, but Kate Millett woke it up.’ Sexual Politics—and all Kate’s work—will keep us Woke.” The impact of Kate Millett’s life and work cannot be overstated.
Post contributed by Liz Adams, Special Collections Cataloger
When I open books, one of my favorite things to do is look for small signs of its previous owners, its provenance: Was the book a gift, with a thoughtful note to the recipient? Did the owner write her name, big and bold, on a flyleaf? Sometimes there are so many signs that a separate story, that of the owner, begins to emerge. This was the case with Una Vincenzo, Lady Troubridge and her copy of Knight Asrael: and Other Stories, written by her aunt Una Ashworth Taylor.
Una Vincenzo, Lady Troubridge was born in 1887 to a family steeped in literary culture. Not only did her aunt Una write Knight Asrael, but her other aunt Ida wrote several novels, contributed regularly to 19th century magazines, and published biographies on Lady Jane Gray, Queen Hortense, and Madame Roland (Palumbo-De Simone, 2004). Her grandfather, Sir Henry Taylor, was a well-known dramatist and poet (Reger, 2004). This literary heritage is felt early on in Una Vincenzo’s copy of Knight Asrael. Una Ashworth Taylor wrote a deeply personal inscription to her nieces, one explicitly connecting baby Una and her older sister Violet to literature, to the power of reading: “Here are your stories, Violet, for you to listen to now, to read to yourself soon, & to tell to baby when she is old enough to hear them. September-1889.”
Although it’s unclear if Violet read the chivalric stories in Knight Asrael, Una seems to have, or at the very least, she enjoyed its opening pages. On the front pages of Knight Asrael, there are exuberant blue drawings, signed by their artist: U.T.
While these drawings might be some of the earliest known Una Vincenzo works, they are not the last: Una trained at the Royal College of Art, ultimately focusing on sculptural works (Ormrod, 1984, p. 29). A bust of the famed Russian ballet dancer Vaslav Nijinsky cast by Una now lives at the Victoria and Albert Museum.
Una Vincenzo left one more sign in Knight Asrael, an inscription of her own on the title page: “Radclyffe-Hall & Troubridge, Chip Chase, Hadley Wood, Herts.”
Radclyffe Hall is the author of several novels, most notably The Well of Loneliness, an influential work in lesbian literature. She and Una met in 1915 and moved in together in 1919—after Una formally separated from her husband, Admiral Ernest Troubridge (Ormrod, 2004, p. 65, p.133). Una and Radclyffe (also known as John) were romantic partners for 28 years, living together at Chip Chase and abroad, until Radclyffe’s death in 1943 (Baker, 2004). Una documented their lives together through photography
and a biography published after Radclyffe’s death, The Life and Death of Radclyffe Hall. And even after death, Una continued to write letters to her beloved (Ormrod, 2004, p. 286).
When the provenance in Knight Asrael is taken together, the life and loves of Una Vincenzo, Lady Troubridge begins to break through: her artistic endeavors, her literary nature, and her deep love for Radclyffe Hall. Una ultimately lived to the age of 76, dying in 1963 in Rome, Italy (Ormrod, 2004, p.313).
The Rubenstein Library acquired its copy of Knight Asrael as part of the Lisa Unger Baskin Collection, a transformative collection documenting the lives and work of women across several centuries.
Baker, M. (2004). ‘Hall, Marguerite Antonia Radclyffe- (1880–1943)’, Oxford Dictionary of National Biography, Oxford University Press; online edn, May 2015 [http://www.oxforddnb.com/view/article/37878, accessed 21 July 2017]
Ormrod, R. (1985). Una Troubridge: the friend of Radclyffe Hall. New York: Carroll & Graf.
Palumbo-De Simone, C. (2004). ‘Taylor, Ida Alice Ashworth (1847–1929)’, Oxford Dictionary of National Biography, Oxford University Press; online edn. May 2015 http://www.oxforddnb.com/view/article/46564, accessed 21 July 2017]
Reger, M. (2004). ‘Taylor, Sir Henry (1800–1886)’, Oxford Dictionary of National Biography, Oxford University Press; online edn. May 2015 [http://www.oxforddnb.com/view/article/27030, accessed 21 July 2017]
Post contributed by Paula Jeannet Mangiafico, Visual Materials Processing Archivist
There are many music-related collections in the Rubenstein Library, but the Gilmore Ward Bryant papers are special to the history of Durham, North Carolina. This small collection of diaries, photographs, school records, and sheet music documents a time when turn-of-the-century citizens held cultural aspirations that included unleashing the terpsichorean muse on Durham—hoping perhaps that arpeggios and arias would temper the roughness of the tobacco town (population 18,241 in 1910).
Enter Gilmore Ward Bryant, born in 1859 and raised in Bethel, Vermont.
After a successful musical career in New England and Virginia, he was reportedly lured to the Southern upstart town of Durham by the Duke family, who financed the design and construction for what was to become the Southern Conservatory of Music. Finished in 1898, the grand Italianate-style building stood on the corner of Main and Duke Street, across from the Liggett Myers Building, on land that today belongs to the Brightleaf Square parking lot.
Here is a view of the Conservatory. This is what you would have seen if you stood at Toreros Mexican restaurant and looked across the street:
Its auditorium, practice rooms, and parlors were classically grand in scale—the reverberations must have been amazing, to say the least:
“G.W.” Bryant served as Director of the Conservatory, and along with his partner and wife, Mattie Emily Bullard Bryant, the head of the Voice Department (his daughter-in-law also taught piano), kept the undoubtedly expensive venture thriving for many decades. The school was a huge success, hosting large concerts, alumni dinners, and recitals several times a year.
Bryant was also a composer, penning scores as early as 1895 and continuing into the 1930s. He wrote and published many pieces, including a “Tiny Waltz” and another piece entitled “Topsy Turvy.”
Eventually, perhaps due to a familiar pattern of rising downtown rents, the Bryants laid the cornerstone for a new Conservatory on South Alston Avenue, then open countryside, in summer 1923, and the old Conservatory was demolished in 1924. Bryant’s wife writes in her 1923 diary on December 31: “Went up & thru the old Conservatory— was terrible—nearly dropped to pieces.”
Today Durham hosts several music schools, but the era of grand edifices and classical conservatory training has yet to return. In the meantime, we applaud the Bryants’ vision for and dedication to their adopted Southern hometown. Luckily, some of the Conservatory’s records and the Bryant family’s personal papers and photographs have been preserved for researchers at the Durham County Library and the David M. Rubenstein Rare Book & Manuscripts Library. You can see the inventory for the Rubenstein collection here: